But in spite of all annoyances she had never played better in her
life. She liked the part, and acted the warm-hearted, quick-witted,
sharp-tongued Peg with a spirit and grace that surprised even those
who knew her best. Especially good was she in the scenes with
Triplet, for Kent played the part admirably, and cheered her on with
many an encouraging look and word. Anxious to do honor to her patron
and friend she threw her whole heart into the work; in the scene
where she comes like a good angel to the home of the poor
play-wright, she brought tears to the eyes of her audience; and when
at her command Triplet strikes up a jig to amuse the children she
"covered the buckle" in gallant style, dancing with all the
frolicsome abandon of the Irish orange-girl who for a moment forgot
her grandeur and her grief.

That scene was her best, for it is full of those touches of nature
that need very little art to make them effective; and when a great
bouquet fell with a thump at Christie's feet, as she paused to bow
her thanks for an encore, she felt that she had reached the height
of earthly bliss.

In the studio scene Lucy seemed suddenly gifted with unsuspected
skill; for when Mabel kneels to the picture, praying her rival to
give her back her husband's heart, Christie was amazed to see real
tears roll down Lucy's cheeks, and to hear real love and longing
thrill her trembling words with sudden power and passion.

"That is not acting. She does love St. George, and thinks I mean to
keep him from her. Poor dear! I'll tell her all about it to-night,
and set her heart at rest," thought Christie; and when Peg left the